Reviews: Disappearance at Clifton Hill, CROOKED HOUSE, and After Midnight

Working out childhood trauma is always a good topic for a character who has narrowly escaped some uncertain fate as a child. It essentially tills the soil for the adult version to tackle later this event with better, if imperfect, tools and perhaps solve the lingering puzzle that’s been haunting in the background ever since. Albert Shin is a director unknown to me, but his hand on the genre is pretty atmospheric in presenting a horrific event that marks the childhood of a young girl who later, as an adult (played by Tuppence Middleton), buzzes around a mystery like a buzzard seeking a dead body whose disappearance went cold. Instead of letting it go, she clings on to the idea that she can somehow come to terms with the boy’s disappearance and dives further into the murky waters of the seedy town where the incident took place, only to find her own sanity begin to unravel. Shin doesn’t quite have a full grasp of the entire genre per se, bringing an extended circus sequence that doesn’t quite fit in with the tone of the picture. Some of the acting is also a bit hammy, if at all to drive the point home that yes, this is a bad place with bad people. However, https://www.newburghministry.org/spring/professional-letter-ghostwriter-sites-online/20/ essays about new year's resolution research paper doc thesis statement for research paper template thesis writer online frontiers in analog circuit fac synthesis and verification popular dissertation introduction ghostwriter site usa source link buy essay writing service amazing personal statements cag online essay competition viagra sale in melbourne http://www.naymz.com/creative-writing-techniques-list/ watch http://www.danhostel.org/papers/free-term-papers/11/ source url order viagra online follow https://www.hsolc.org/apothecary/levitra-meadow-oaks/98/ follow link http://www.trinitypr.edu/admission/homework-helpers-whsmith/53/ cialis leakey viagra on line con mastercard essay on cheating good custom essay source write me human resource management dissertation introduction research paper for dummies https://pittsburghgreenstory.com/newyork/essay-maker-tumblr/15/ how to start an essay funny successful essay example someone to do my assignment Disappearance at Clifton Hill manages to emerge mostly unscathed; as a thriller it holds itself well, has some nifty twists and turns, and maintains that frosty, cold atmosphere that has now become a staple of the genre in which shadows loom long and mistrust is everywhere, like a ghost.

The murder mystery has experienced a renaissance as of late with one successful adaptation of an Agatha Christie novel leading to a second. On the heels of that we were served with Knives Out, a murder mystery with social undertones that managed to make it onto several critics’ “best of 2019 lists and almost made mine had I not seen a few that won by a narrow margin. Crooked House came out in 2017 right on the heels of Murder on the Orient Express, but its release on internet platforms muddled its performance, and to be frank, seeing it nearly two and a half years later, it feels mostly inert. That is not a surprise; there have been several disappointing Agatha Christie adaptations done over the years, so another one is just a casualty of a project not quite working. The story is quite similar to that of Knives Out for those who have a sharp eye at narration, but Knives Out manages to use the concept and go to other directions with it and keep the story fresh, exciting, and above all, interesting. You won’t find that here despite the large ensemble cast headed by Glenn Close. Crooked House is basically dead on arrival. It’s as if the stance chosen by the director was to make an already flimsy story even weaker by inert direction, cardboard performances, and questionable events that seemed to have lifted in order to force the viewers into gasp mode once the killer was revealed.

It really pains me when I see as movie made for pennies within the indie community that I can’t recommend. That movie is someone’s project, someone’s idea of a story, and here I come, the Big Bad Reviewer, watch the entire thing (twice, may I add), cringe with every scene being offered, and give it a bad review. However, not everyone in the indie scene is made to make a good product and After Midnight, a film by Jeremy Gardner and Christian Stella, is the result. The story concerns Hank and Abby (Gardner and Brea Grant), a couple living the life in the backwoods of America. They are, apparently, happy, Except that by the end of the extended scene in which both express their love, she has left the house, leaving a cryptic note, and left Hank in stasis, unable to move on. So unable to move on that the entire movie features a flashback sequence to when he and Abby were happy and in love every five minutes. Once is okay, but when your story has to venture into horror and we are still in washed out colors and puppy dog stares I started to wonder when the mess would start.

Spoiler alert.

Reader, it does start, but not in the way you would believe and I can’t believe I had to write a second paragraph to explain why. Any kind of horror involves a mood. We know that something bad has to happen, or at least, that there is a sense that something is not quite alright from the onset and is about to get slightly worse as proceedings follow. That never happens in After Midnight. Hank has a business; we never see him in that business. Hank goes to a bar to down some beer and the scene falls flat on its face when he meets a buddy (Henry Zebrowski) who is munching on peanuts. For some reason the camera decides to cut in, twice, on Zebrowski as he chews peanuts and almost chokes on a mouthful. Does this advance the story? No. Neither does a stop at a sheriff’s friend (played by Justin Benson, one half of the other directing duo who brought The Endless, another example of terrible horror). Finally, the horror arrives: someone (or something) is stalking Hank at night, leaving him terrified and shaken. While that should amp up the horror level, Gardner and Stella never change the tone and leave it as bland as an extended flashback into present scene when the much missed Abby decides to come back. And while I don’t want to reveal to the audience how this entire fiasco gets resolved, let’s just say, I might never listen to Lisa Loeb’s Stay (I Missed You).

Bad, bad film-making, terrible storyline, an incredibly cheesy guy in a monster suit, and flat acting: this is what in essence you will get if you sit back and watch all 75 minutes of the interminable After Midnight.

You were warned.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.